I just picked up his new book recently, I have really been liking it so far. He has a very unique writing style and perspectives on music making.
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For some people the process is more important than the outcome. If you are someone that has ideas in your head that you need to get out then it makes sense to have the instrument or piece of gear that facilitates that or that āgets out of the wayā to make the idea concrete. This is especially true if youāre making music for a living, on a deadline etc. No time for procrastination!
Iām quite convinced, however, that an awful lot of people here are far more interested in the journey than the destination, even so far as to not care if there is a finished product at the end.
How many people here are buying modular gear at huge expense when they could get the same sound from a fixed-architecture synth that costs 1/4 of the price?! Or people buying and selling gear that basically does the same thing but with a slightly different interface (thatās me by the way)? The need for more or different āstuffā is in our heads because we all know that people with very limited gear have made great music. Productive people (in many disciplines) donāt chop and change all the time, they pick their tools and get on with it.
I also think many people donāt have an idea to start with, they just want to see what comes out with a setup that they enjoy. Not aiming for a style or a genre as such. Again, you donāt need much gear to do that. Whatever you make is music, irrespective of what others think of it, and itās yours.
I think I might have gone off on a tangent a bit. Fascinating topic!
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My core gear changes, is in flux, sometimes per project.
Occasionally a sentimental attachment can happen. This is good.
Some of my favorite gear doesnāt make it onto recordings.
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In my case Iād say I spent years using some basic gear, guitars and VSTs to make music. While inspiring, I only ended up recording short loops and rough sketches.
About three years ago I decided to have a go at getting into eurorack and since then put together a modest case plus a AR and DN.
Iām sure thereās other really great gear out there that I never had the opportunity to try out, but my current set up feels right. I have loads of fun using it and helps me focus. Never been so productive and finally closing off tracks - in part because I cannot just save a current state and move onto something else unless Iām ready to lose it all.
I guess this is what defines my core gear and you just have to go with what inspires you and enjoy using.
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Good read ! Thanks.
For me at the moment the polyend tracker is an insatiable tune maker (fed with samples from synths and drum machines)
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Personally I believe gear absolutely matters, but inevitably we tend to go about things in a skewed manner. You need the Skill, knowledge and understanding to know which gear works best for your productivity and goals but we buy the gear first to try and gain the above mentioned skills.
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Iām enjoying the āislandsā philosophy I recently saw elaborated in a Hainbach video.
I have 3 islands.
Model:Samples = Tactile groove box
VCV = Modular
Renoise = Tracker Composition
Depending on what mood Iām in I can retreat to one of three islands. And either my phone or computer can act as a central recording hub. And of course islands can collaborate if needed.
Iām saving up for a M:Cycles now. I really feel that it would be a great extension/companion of the M:S and I enjoyed the OG posterās thoughts on it. I rewatched Essās performance with it when it was announced and that along with some other videos assures me that itās much deeper than most realize.
Also I think itās easy to forget that most of us just love gear, plain and simple. We are genuinely interested in the tools of our trade and there is nothing wrong with that. Like anything, itās about balance and discipline.
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A fairly high profile and arrogant musician once said to me ālimitations can be an advantageā in reply to me responding to a criticism he made of my music. This guy literally had every desirable bit of gear in his studio, and I found it pretty strange that he would say that.
I was young and naive at the time, and I was probably at one of the most productive times in my life, but on reflection it was nothing to do with the modest amount of gear I had. Even though for some time I gave this guys words some merit, I later came to the conclusion that he was full of shit, at least in the way he had framed his statement.
For sure some limitations can be advantageous, no denying that at all, but it is important to understand that too many limitations can often lead to frustration and the inability to do what you want to do.
These days things are much different, with the advent of pocket sized devices capable of making music that in previous times would have needed a whole studio, it could be argued that limitations are obsolete, for all intents and purposes.
But still, we find ourselves getting writers block and lack of inspiration, regardless of limitations, be they self imposed or outside of our control.
So to my mind it is more about having enough to do what you want to do, recognising that this can change, not looking for excuses and to do a certain amount (without obsessing over it) of self reflection.
If I were to apply a simple phrase to what is the most important thing in my being creative, it would not be ālimitations can be an advantageā of the arrogant guy from earlier, but a much simpler, clear and direct saying from one of my favourite youtubers - who has nothing to do with music. āFocus, you fuck!ā
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Yea!
This is exactly why I purchased Renoise.
(and sold my polyend tracker)
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Focus.
Cannot emphasize that enough.
If one could focus on the subset of features required to attain oneās objectives, we wouldnāt be overwhelmed.
Hmmā¦ I have on my mind quite a few examples of artists who kinda ālost their creativityā (IMHO) over the years and who started with super limited hardware (Amiga trackers for instance). But is that due to their getting older and having less time with no interference ?
As for myself, I need minimalism because my brain cannot cope with profusion. BUT as minimalism is not absolute, I spend way too much time looking for the right amount and nature of minimalism which is counter productive 
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I Agree. Iād also add that: yes, limitations can be inspiringā¦ but really you need the space to investigate which limitations are inspiring (for you) ā¦ Iām not addressing this to anyone in particular btw
If (for example) you want to write metal and all you have is an 808 and a 303, embracing the limitations will ultimately end in frustration (probably).
But If you buy 20 synthesisers and end up limiting yourself to the three you find most inspiring (and sell the rest) thatās a whole different paradigm
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Stephen King in his book āOn Writingā said that we surround things that we think will make us better writers. Like a big desk a huge window with a fantastic view. A fantastic ink pen. A throned chair. A Great computer etc etc. But the great stories come from your mind not the objects. And he uses a little desk in a cellar with no window. No distractions. Door shut.
To be a great writer of anything you need just a few simple tools and your own mind. Core gear sounds about right.
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A little better than a little desk in a cellar but I love that Caterina Barbieri did Patterns of Consciousness, as far as I understand, with one sequencer (ER-101) and oscillator (harmonic oscillator), and some effects in Ableton.
Truly amazing melodic writing and I think her talents may have been less obvious had she tried to squeeze a bunch of other elements in.
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I donāt agree here. I am making āhand madeā music for around 30 years, playing mainly drums and Bass with some guitar. On every single type of instrument, I started to progress as soon as I got hold on an instrument that fit to me and got me inspired. Itās nothing different with electronic gear.
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So tell me, why does an instrument fit to you?
Hard to talk/name. I would say feel and sound on guitars, workflow and sound on synth stuff maybe.
Found my core gear a while ago and pretty much sticking to it.
Maschine for composing
Octatrack for live
Ipad for relaxing
Still looking for my core synth though
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It continues to surprise me. My interactions with it are more like conversations than like exacting my will/vision upon it.
I think specific gear does not matter other than the gear does not get in the way too much, gear that hinders is annoying, gear that gets the job done isnāt.
But there is more to it than that too, it has to inspire in some way or become a staple for me. I can work around technical or capability deficiencies in gear, to an extent. Unless it becomes tedious, then I look to replace it.
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This is exactly what Iāve realized. Elektron machines seem made to exploit this, morphing between purposes in a not completely effortless but very fun and rewarding way.
Try making a drum kit out of a Volca Bass or writing a nice synth lead with an 808 and things get in the annoying zone very quickly. Certain machines seem to have been built to varying degrees on this philosophy of āfunā and āimmediacyā and āblurring linesā. While others just are what they are. I feel personally more receptive to instruments with transitory natures. Thatās why I love samplers, you can switch out their guts and theyāre essentially whatever you want them to be.